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7). In addition to these two modes, the "bare, unadorned and manly" and the "feminine," there is a third, the Corinthian, which " imitates the slight figure of a maiden" (De Architectura, bk. IV, ch. I, para. 8). 42 RULES OF COMPOSITION I9 . Two series on columnar elements: (a) on pedestals, (b) on bases. Both aze ranked &om the Tuscan to the Composite (Serlio 161 9). 11111 GENERA 4I a . -- J 1 ~ ~1 ==-:J , b I r , 40 RULES OF COMPOSITION in his ParalleLe de I'architecture antique et de La moderne (1659), tried to compare systematically both ancient and modern buildings that were accepted at that time as canonical and, thus, to reveal proportionality constants of beauty.
This ranking has assumed many meanings throughout history, as it is related to history, religion, anthropomorphism, society, and statics. When it comes to discussing the differences between genera, Vitruvius mentions that the origin of the relation between the "thickness of the column" and its height or its size of parts is the human body. The proportions of the Doric column, for example, are derived from the male body. In Vitruvius's words, "whatever thickness they made of the base of the shaft, they raised along with the capital to six times as much in height (De Architectura, bk.
The picturesque, romantic, regionalist, expressionist, and modernist anticlassicism took shape only after an alternative to the classical taxis of grid structures and tripartition was devised. Taxis has a special place in the classical poetics of architecture. Swans and dolphins, garlands, wings and torches, scrolls and sphinxes might crumble, but taxis will remain. Mario Praz imagined Winckelmann, one of the greatest proponents of classical architecture in history, "in the gloomy realms of Hades ...